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Selected Mike Moorcock quotes concerning his books

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  • #16
    Elric-

    What inspired Mike to create Elric?

    Elric is the antithesis of R.E.H.'s Conan. He wanted a character that was the direct opposite of what was found in sword & sorcery/fantasy books of the time.



    Does Mike personally identify with Elrc?

    (From a John Davey Interview, June 2005)

    Michael Moorcock wrote:

    M.M.: Yes, it's a deliberate choice to make those Elric books perhaps more 'literary' than the earlier ones. I always identified with Elric as my 'first born' fully fledged heroic fantasy hero and I still do identify with him. However, I'm a lot more mature now than when, around the age of 20, I first began to write his adventures. The additional complexity of the books therefore reflects my own growing complexity and understanding. It is a natural progression, of course, but it's also a conscious one. I've always been a very conscious writer, pretty much from the beginning of my career. You can see my analysis of fantasy fiction appearing side by side with my stories in, say, SCIENCE FANTASY magazine, where I was writing literary essays as well as fiction
    Did Mike invent the Chaos symbol?

    Michael Moorcock wrote:

    Yes, it's the case. I drew it at my kitchen table while thinking up suitable symbols for Law (a single arrow) and Chaos (eight arrows representing
    all possible choices). Games Workshop couldn't exist without the things they've ripped off from me and Tolkien. If they'd made more of the material, I wouldn't mind. But they've dumbed it down, too. Sometimes I get weary of this crap. Other times, people remind me, that imitation is the sincerest form of flattery. A more sincere form of flattery than that, of course, is when they ask you first. As I've often said -- they can say it's flattery, but that's the flattery of the guy you catch in your apartment when you come home at night and he's just heading for the fire escape with your new TV. 'Great taste in TVs, man,' he says....
    Michael Moorcock wrote:

    "The origin of the Chaos Symbol was me doodling sitting at the kitchen table and wondering what to tell Jim Cawthorn the arms of Chaos looked like. I drew a straightforward geographical quadrant (which often has arrows, too!) N.S.E.W.and then added another four directions and that was that -- eight arrows representing all possibilities, one arrow representing the single, certain road of Law. I have since been told to my face that it is an 'ancient symbol of Chaos' and if it is then it confirms a lot of theories about the race mind...As far as I know the symbol, drawn by Jim Cawthorn, first appeared on an Elric cover of Science Fantasy in 1962, then later appeared in his first comic version of Stormbringer done by Savoy. More details of that can be found on the Savoy website."
    What happens to Stormbringer's victims?

    Stormbringer and Eternal Champion talk:

    Michael Moorcock wrote:

    We also have to wonder, of course, to whom Elric's soul was ultimately in thrall to and if, therefore, it exists in Hell and if it exists whether or not it can be reincarnated AS ELRIC. A bit of a paradox in relation to the Eternal Champion, perhaps ? Something I've often wondered about,
    though I think it would ruin the ending of the sequence if I were to 'resurrect' Elric or, indeed, Corum. There has to be some sort of ending to a tragedy or it's in considerable danger of becoming a comedy... How Elric earns his sorcerous spurs is dealt with in the forthcoming graphic series and also, of course, in books like The Skrayling Tree. If I sound mysterious, it's because I'm desperately trying to discuss the ideas raised without introducing spoilers! :lol:
    Michael Moorcock wrote:


    While the Eternal Champion is, indeed, the servant of the Balance, which is why he fights sometimes for Law, sometimes for Chaos, it is possible for two of his incarnations to exist on the same plane. There's some suggestion, I'd say, that Gaynor the Damned was once a Knight of the Balance and possibly an incarnation of the Eternal Champion. Perhaps he's the Champion who refused his destiny ? The multiverse, as explained in MM's Multiverse graphic novel, consists of an infinite number of variations of the same universe -- each divided by infinitely tiny differences -- only at some distance apart are the worlds radically different. Champions can move across these worlds by a variety of means, usually in service of the Balance, which, it's fair to say, is probably the only constant throughout the multiverse.
    Locations for Corum and other books:Michael Moorcock wrote:
    Cornwall is right. St Michael's Mount is right. Lwym-an-Eshe (I've forgotten I spelled it) is Lyonesse -- otherwise the Scilly Isles. The Corum books are, apart from the Hawkmoon books, the only ones I set in an actual visitable location! As I said in the introduction to one of the omnibuses -- blame a very wet holiday in Cornwall, with nothing to read but an English Cornish dictionary! I've also set some Jerry Cornelius scenes in Cornwall. My paternal grandmothers (I had two -- one a step)
    came from the West Country and I spent some happy times there as a small boy, though most of my English roots are in the Yorkshire Dales where I'll be setting the opening of The White Wolf's Son. If you're planning to visit Yorkshire, I can probably give you a map! Come to think of it, it's much the same country as appears in the current movie Calendar Girls! A little further up, above Settle, which was our main
    'large' town. Other scenes based on my own background in England can be found in The War Amongst the Angels. Just in case you're planning your next holiday... At this rate I should get a kickback from the Yorkshire Tourist Board....
    How do you pronounce Melniboné?

    An audio sample of Mike is available in the download section.

    Michael Moorcock wrote:


    As I've said before, the pronunciation is a matter of local dialect and useage...
    Michael Moorcock wrote:

    Yep. How do you prefer to pronounce Chichester, for instance ? Or, shall we say, Leghorn ? Or Peking ?
    While I have certain preferred pronunciations of my own, however you chose to pronounce the names is fine by me. Accents are usually there to function in ways normal to French or German, for instance, and that's about it. If you want to produce Yyrkoon Eerkoon or Yerkoon of Yrrrrkn or however is up to you and your ears. In a world where half the people pronounce Iran Eye Ran and the others pronounce it Ear Ran and the Iranians pronounce it slightly differently depending what part of their country they live in, it seems natural to me that you should pronounce a name according to your own taste. I am, after all, not describing reality here and there are not likely to be any Melniboneans turning up to complain you've hurt their feelings by not producing Hishgegrowinaaz right...

    How do you pronounce Vadhagh?

    Michael Moorcock wrote:

    I pronounce it with a cross between a soft b and a v -- a long a -- a 'breathed' dh, long a. soft gh from the back of the throat.
    How did Mike come up with the idea for Tanelorn?

    Michael Moorcock wrote:

    I don't know how I came up with it. It first appears in a story I wrote for Science Fantasy between Elric tales -- To Rescue Tanelorn. It just seemed a nice idea... I've always liked the idea of 'sanctuaries' in
    place of strife -- Sporting Club Square in London, for instance -- and
    Arab water gardens in busy cities, that sort of thing. I like to be near the action, but I want to be able to get away from the noise and bustle of it sometimes. Derry and Toms Famous Roof Garden used to be like that for me. As it is for Jerry C.
    06-22-2004, 12:27 PM

    Will there be more Elric stories?

    Michael Moorcock wrote:
    To tell you the truth, I've forgotten who I was writing it for. I get a bunch of requests for short stories and I usually write the stories and then discover I've lost the email. I usually then just wait to see who writes to me and asks for it! I had an idea that I might put this one in something like Worlds of Fantasy, if they wanted it, but it's possible I promised it elsewhere. It will go in the newly published Elric series when it starts to come out.
    Last edited by lemec; 08-30-2006, 07:55 AM.

    "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
    - Michael Moorcock

    Comment


    • #17
      Mike in other media-

      From which books will the Elric movies be made?/What is the progress so far?

      On July 4, 2005, Mike reported that "My agent tells me that Universal have voluntarily paid the second option money two months before it was due, so things look pretty good for the movie."

      On May 10, 2003, Mike wrote: "...all three movies would be culled from the first six books. First one is based on Elric of Melnibone and The Dreaming City (from the second book), middle one will be drawn from the adventures in the next books and the final one will largely be based on Stormbringer. I think Elric is more likely to be a 15+ audience..." (Source: Q&A Archive Article #2882)
      Is the screenplay finished?

      From John Davey Interview MM said:
      We now have a script, which I'm informed Universal are delighted with, written by Chris and Paul. I have made my notes about it, Universal have made theirs and so on. We're currently about to take the next step, I hope.
      Which studio will make Elric?

      Universal

      Who will be Elric?

      Jack Ryder was an early possibility.
      Johnny Depp has been considered.


      Elric Movie Casting Archive Link :

      http://www.multiverse.org/fora/showthread.php?t=2424


      I tend to favour classically trained (RADA) actors for this kind of movie.
      They can bring a dignity to roles, in my opinion. Gandalf, for instance!
      But I also agree they should be young so that they can age with the character. The first movie doesn't have Moonglum in it at all (as the early books don't have him in them) so it will be a while before he's cast.
      I very much hope the movie does well enough so that we can do Stormbringer -- a field day for morphers!
      What is Mike's complaint concerning Chaosium?

      Chaosium change the goal posts every time we try to talk to them. I'm happy you found my work through them, but this doesn't stop me being irritated on a number of issues, none of which are addressed by a bit of sentimentality. Games Workshop don't hold any rights whatsoever to my work, they just rip me off from time to time. The reason Chaosium have the stranglehold on board and card games now is because I gave (gave) rights away to both them and D&D. Then Chaosium decided to sue D&D for rights of mine they claimed they owned. All without my knowing it. Does this make them victims ? D&D gave up the rights (they hadn't paid for them either -- I hadn't asked for payment) and Chaosium have been making money ever since. I have not seen royalties or had work submitted for approval for many years. They're in breach of a contract drawn up long after they'd been trading. I'll be dealing with this anon. I've long since learned that small indies can be just as shark-like as big companies. It's all a question of success and ambition.

      From Q&A Archive Article ##3058
      What are the trademark concerns?

      My characters are protected as trademarks (names and 'insignia') as more recent books state, but I can give permission for people to compile anthologies like the White Wolf anthology and its sequel Pawn of Chaos.
      What's more there are game scenarios which employ my characters (though I have problems with Chaosium's use of my characters and that will soon become a legal issue). So that's the simple answer -- if an editor wants to do an anthology which features writers doing riffs on my characters and backgrounds, that's okay, but it's not okay to do it without permission!
      I also distinguish between fan fiction posted free on the web and fiction published in book form without my permission.
      Will there be any new Elric games?

      Universal now have control of the game rights. I haven't
      any idea what form it would take, though. Can only hope
      for the best.
      What does Mike write for The Guardian?

      Answer: Michael Moorcock writes several book reviews for The Guardian.

      He also reviews for The Daily Telegraph

      Michael Moorcock wrote:
      I reviewed The Etched City for The Guardian. Anyone who likes the sound of it can go to The Guardian site, Books, and use their search for either my name or Bishop's. There are also reviews of VanderMeer, Ford,
      Dick, Anderson and others. Generally speaking, I no longer review books that I don't enjoy (though I found I didn't much like the Dick on rereading).
      I also review regularly for The Daily Telegraph, again mostly books I like, and there's a review of Jacobson's Kalooki Nights about to appear this coming Saturday, I understand. Next book I do for The Guardian is Fortunate Son by Walter Mosley.
      What magazines have interviewed Mike?


      Answer: Locus, Science Fiction Weekly, 3:AM Magazine, The Edge?


      Which non-Moorcock books have introductions by Mike?

      The Golden Strangers (Henry Treece) Savoy Books
      The Dark Island (Henry Treece)
      The Great Captains (Henry Treece)
      Red Queen, White Queen (Henry Treece)

      Eyes of Light: Fantasy Drawings of Frank Brunner -Introduction by Michael Moorcock.

      Le Morte D'Arthur: Complete, Unabridged, Illustrated Edition -Forward by Michael Moorcock.

      Best SF Stories from New Worlds -Introduction by Michael Moorcock.

      Best Stories from New Worlds II

      New Worlds Quarterly

      The Traps of Time




      What are Mike's favourite book covers?

      Michael Moorcock wrote:
      I long since realised that the whole matter of covers is subjective. I liked Gould's covers because they conveyed what I saw as the character's sensitivity and aesthetically they also appealed to me. Berkley/Ace used him on everything they produced of mine during the eighties and I thought he suited the End of Time and Corum stories particularly. But propably the most POPULAR covers for the Elric books, for instance, are the Whelan ones and they have appeared again and again on French, German, Italian and many other foreign editions, pretty much defining the character in many peoples' minds. I told the anecdote about the Corum cover to illustrate that my sense of what a good cover is has very little to do with what the public thinks. I think if I had my way with my fantasy books, I'd like, nostalgically, to see them all reprinted in the old DAW editions, with yellow spines and everything, but I wouldn't necessarily find them the most satisfying covers. Incidentally, my favourite artist for Corum is Mike Mignola, who did some splendid artwork for the Corum comics as well as great covers for them.
      I think Cawthorn and Amano, though extremely different, are my favourites for covers. Whelan's Elric covers are magnificent examples of their genre. Gould, for me, captures more of the character I imagine.
      Walter Simonson's my favourite graphic novel depicter and I love his work on Count Brass in the US. I've had some great artists, in fact, working on my fiction. And then there's non-fiction -- Letters for Hollywood, which is probably my most magnificently illustrated book by Mike Foreman.
      What Michael Moorcock themed comics are there?


      Answer: Michael Moorcock's Multiverse, Elric: The Making Of A Sorcercer 1-4.

      The Dreaming City Graphic Novel, Stormbringer,The Jewel in the Skull, Elric Of Melnibone Graphic Novel, Elric of Melnibone-Stormbringer comics.






      What is Mike's relationship with James Cawthorn?


      Answer:
      James Cawthorn drew the Graphic Adaptations of Stormbringer,
      The Jewel in the Skull and The Crystal and the Amulet. His Illustrations
      include:

      Sojan (Michael Moorcock)
      The Savoy Book
      The Golden Barge (Michael Moorcock)
      The Golden Strangers (Henry Treece)
      The Dark Island (Henry Treece)
      The Great Captains (Henry Treece)
      Red Queen, White Queen (Henry Treece)
      Savoy Dreams
      Death Is No Obstacle (Michael Moorcock & Colin Greenland)
      Are there any Moorcock plays for the stage?


      Answer: Yes, there was once a small production of Behold The Man.

      Michael Moorcock wrote:
      Well, of course, Elric HAS been on stage in Chronicle of the Black Sword. I thought it looked pretty good. Not bad music, either.
      Yes, there was a stage version of Behold the Man at least once. In France, as I recall. And I have a feeling there was another one in Canada.
      Nothing that I ever saw in England or the US, but that could just be my bad memory. There have been two movies projected, which never got much past script stage. The first one was with Mai Zetterling, which I was really looking forward to, but sadly the studios wanted to make a lot of changes which neither she nor I wished to make, so ultimately it was scotched. A great shame.
      Mike's involvement in The Land that Time Forgot movie?

      Answer:
      Michael Moorcock and James Cawthorn wrote the
      screenplay.
      I was very lucky in being given the authority by Edgar Rice Burroughs Inc to write a movie as close to the first part of the book as possible, but even then the producer managed to stick a volcano in, which I had insisted not be in the movie (making it difficult to continue the series according to the books!). Jim Cawthorn broke the book down into scenes and I wrote the script. We used the German submarine commander as the biologist on board who could explain the theme, rather than have a stereotypical U-boat German of the period (WW1) when the books were written. Even then his dialogue had to be overdubbed by Anton Dolin (I think) who had a rather more convincing voice than the actor who played the commander. Given the budget, I thought they did pretty well, using glove-puppet dinosaurs mostly. They got the atmosphere of the sub finding the secret way into the island very well, I thought. My main trouble with the dinosaurs was the fixed wing pterodactyl and there was also a certain amount of dimensional problems here and there. All things considered, however, I thought it came out pretty well. Edgar Rice Burroughs Inc for some reason didn't exercise the same control over the sequel. After learning what the producers intended, Jim and I left the project, whereupon one of the producers took it over. Milton Subotoski was a nice guy, but he was incapable of writing a decent script, as many of his movies attest. For really awful films, I would recommend his Last Siege of the Saxons, which used so much library footage I reckoned it covered something like fifteen hundred years of history, forcing the actors to dress up in the costumes which were in the library footage -- including what was evidently an old Robin Hood movie! Robin Hood, calling himself King Arthur, fights the Viking invaders!
      If they'd promised me that model, I probably would have written the script... The three movies, as I think everyone knows, are in a DVD set.
      Jim and I did an outline for People, but as far as I know none of it was used. Maybe too expensive.


      Additional Information:
      It was actually a very agreeable bunch of people working on the movie. Doug was a humorous, self-deprecating actor who share our general astonishment at the producer John Dark who was like a bad parody of a Hollywood producer who called everyone baby and smoked massive cigars. He was actually Australian, as I remember. It was largely our inability to work with him which made Jim and I decide to drop out of the sequel. The guy who played the submarine captain also believed himself somehow superior to the movie and his voice was so ridiculous we had to overdub him. Personally, I enjoyed working on that movie a lot more than I did on The Final Programme. I took the job because I wanted to get experience so that I wouldn't repeat the mistakes I'd made on FP.
      Mike's issues with The Final Programme movie?


      Additional Information:
      Hugh Griffith was always one of my favourite character actors, a mainstay of British post-war movies, including some Ealing comedies, as I recall. Certainly he was one of the stars of the relatively late The Tichfield Thunderbolt. And played Squire in Tom Jones, as fine and memorable a role as Louis XVI. That movie had so many good actors in it, such good producers and such a crap director. Most of the best lines in the end were actually made up by the actors and credited to the director after I had my name taken off the credits! I suspect the line quoted was probably the actor's. After getting together with me and realising it was meant to be a sardonic comedy, the actors came up trumps, including Jon Finch with 'Miss Brunner -- I'm LOSING!' And
      Sandy (Mrs Peter Davidson)'s line 'Jesus, sir, I don't know what bank it's from' and that whole exchange about wine ('Industrial waste from the Bordeaux region of France' or something like that). With some decent plot dynamics (as supplied by me at the producer's request but dumped by the director) that would have been a great little movie. Oi!
      What are your future projects?: (from a John Davey Interview)

      M.M.: What's next? I'm writing a personal memoir of Mervyn and Maeve Peake, provisionally called Loving. It's not a biography, but a reminiscence. I'm writing a text for a bunch of previously unpublished Peake illustrations, which will first be done in French, called The Life and Adventures of Captain Crackers. I'm working on a 'straight' novel provisionally called Pete's Rules and I must admit I am hatching a new fantasy, closer to Gloriana than anything else, which I might or might not write. There are some comics ideas, too, and a movie idea or two which my agent asked me for. I've done several short stories of various kinds and plan a few more. So it looks as if I'll be kept pretty busy in my retirement...
      When is the next audiobook out?

      Michael Moorcock wrote:
      Fred had problems with Jeff, who had developed a strange click in his voice, but most problems are now resolved and the second book should be out soon, he says. These books, like Walter's graphic stuff, seem plagued with problems -- but are worth waiting for, at least!
      Last edited by lemec; 01-17-2008, 06:02 PM. Reason: additional material

      "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
      - Michael Moorcock

      Comment


      • #18
        Music-

        1) What was Mike's participation in Deep Fix?

        The Deep Fix is Michael Moorcock's band. He wrote the songs Dodgem Dude and Brothel in Rosenstrasse among others.

        2) What songs did Mike write with Blue Oyster Cult?

        Black Blade-(about Elric and Stormbringer.), Veteran of the Psychic Wars-(about The Eternal Champion/John Daker.),The Great Sun Jester-(about the poet Bill Butler.)

        Most of my songs are about my own experience or about friends. The Great Sun Jester, for instance, was about Bill Butler, who died of an overdose in 1977 -- and it was also for him, since he'd always wanted a rock song written about him. Obviously a few are not autobiographical but are sardonic, like Another Quiet Day in Auschwitz...
        Yeah, I think it's fair to say that the song is autobiographical. A lot of those songs were. Bit self-dramatising, too, I suppose...
        3) What was Mike's involvement in Hawkwind?

        Hawkwind made several songs about the characters in Mike's books.

        Mike wrote some of the songs on Hawkwind's album The Chronicle Of The Black Sword.


        4) Was there a Moorcock reference in a "Men At Work" music video?


        Yes, the words "Tanelorn Rules" were written on the the front of the van in the Men At Work music video for "Down Under."

        It referred to a music festival in 1981, the three-day Tanelorn Festival.

        Michael Moorcock wrote:
        I'm sorry to hear the Tanelorn Festival still lost money and am rather glad I wasn't able to make it, since they were going to pay my fare and so forth to be there! I'd have felt very guilty about taking their dosh.
        It sounded like a great festival, though. I always assumed that Tanelorn or Bust stuff from Men at Work was related to the festival, but I don't know if they were readers of my stuff. Quite a lot of Australian bands were at one time, according to the Aussie performers I've met in recent years.
        Last edited by lemec; 11-04-2007, 03:17 AM.

        "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
        - Michael Moorcock

        Comment


        • #19
          Other Eternal Champion/Multiverse Questions-


          1) What inspired the Eternal Champion?
          I'm not entirely sure now, but some of it must have come from Edward Lester Arnold's Phra the Phoenician and other stories about people who lived down the ages (usually immortal). I'm not sure if Edgar Rice Burroughs had anything to do with it. I know he wrote a novel called The Eternal Lover, but to be honest I can't remember the plot. I'm pretty sure quite a lot of it came from The Golden Bough and The White Goddess by Frazer and Graves respectively. They emphasised the recurring nature of myth and heroes. I never read Joseph Campbell, though, and still haven't, I must admit. My influences included Rider Haggard (also dealing with immortality and reincarnation) and the idea of 'alternate universes' wasn't mine, but already existed in sf. All I did was produce a name and perhaps a more sophisticated model for 'the multiverse'. I came up with the ideas for the multiverse, our universe disappearing into a black hole (I didn't call it that because the idea hadn't been put forward at that time) and so on in a story called The Sundered Worlds, which is out of print now, but last appeared in the first volume of the White Wolf omnibus series. It was last published by Penguin Books in about 1994. Pretty badly written, but the base of pretty much everything else I wrote concerning the multiverse. I had the idea for The Eternal Champion when I was around 17 and started writing it then but abandoned it. I remembered the story when I needed money to buy an engagement ring for my first wife and sold it to Ted Carnell for Science Fantasy (1961 ?). Then, a few years later, Harper and Row rejected The Condition of Muzak, saying I'd lost my touch, so I did a quick expansion of the story for them and they bought it delightedly, saying my touch was back. Personally, I think The Sundered Worlds and The Eternal Champion are the worst written stories of my career, yet they're the basis of so much other (better written) stuff. Basically I took the logic of the reincarnation story for the idea of a recurring hero, but added my own angles. Essentially the idea got more complex and more sophisticated as I wrote more books. I like the idea of keeping the same character in different stories. I can understand why Balzac, for instance, began to merge all his novels into one. I have the same impulse. It happens naturally, I think, to certain writers.
          2) Is Von Bek the original Eternal Champion?

          Not really. John Daker, I suppose, is the original. Von Bek is certainly the manifestation of the champion in our recent history. But, of course, there are many strands to the multiverse. Maybe Von Bek's the original in another universe ?
          3) Did Mike invent the term "multiverse?"

          Answer: No, but he is credited with being the first person to use the word to mean "multiple or parallel universes". According to the Oxford English Dictionary, the entemology of the word is as follows: (from demos99)

          1. a. The universe considered as lacking order or a single ruling and guiding power:

          1895 W. JAMES in Internat. Jrnl. Ethics 6 10 Visible nature is all plasticity and indifference, a multiverse, as one might call it, and not a universe.
          1899 F. W. O. WARDE Eng. Roses IV. 433 Within, without, nowhere and everywhere; Now bedrock of the mighty Multiverse, And then the thinnest wreath of thinnest cloud Inpalpable.
          1904 Daily News 11 Oct. 3 [Reporting Sir Oliver Lodge] The only possible alternative was to regard the universe as a result of random chance and capricious disorder, not a cosmos or universe at all, but rather a 'multiverse'.
          1957 Times Lit. Suppl. 11 Oct. 602/1 It is precisely Mr Powys's ever-present contact with the vital, or spiritual, principles within the universe which enables him to explore..the deeper problems of that comparatively small section of the universeor as he would say multiversewhich constitutes man.
          b. orig. Science Fiction. A hypothetical space or realm of being consisting of a number of universes, of which our own universe is only one; (spec. in Physics) the large collection of universes in the many-worlds interpretation of quantum mechanics, according to which every event at the quantum level gives rise to a number of parallel universes in which each in turn of the different possible outcomes occurs:

          1963 M. MOORCOCK in Sci. Fiction Adventures 6 No. 32. 54 Jewelled, the multiverse spread around him, awash with life, rich with pulsating energy...

          Source: Oxford English Dictionary online (www.oed.com)
          My Multiverse is trademarked for commercial reasons -- i.e. nobody can bring out a game called Multiverse. But the noun multiverse is now in the OED, so you can use it to your heart's content...
          Source: Q&A Archive Article #1542

          4) Thoughts on Jerry Cornelius-

          Michael Moorcock wrote:
          Jerry, as you probably noticed, often takes a somewhat contrary view to the familiar one -- neither conventionally liberal or conservative, for instance. Anyway, if you really feel the best way of handling your take on Guantanamo and so on, then Jerry's probably the best way of doing it.
          I have, of course, already done something with this in Firing the Cathedral, where I quote rightwing sources on Guantanamo, but that wasn't the chief focus. Anyway, sounds okay. So good luck.
          5) What are the different names for the Black Sword?

          Stormbringer (Elric)
          Mournblade (Yyrkoon)
          The Black Blade (Urlik Skarsol)
          Kanajana (Erekose)
          Ravenbrand (Ulric)
          6) What is the significance of having the struggle between Law & Chaos?

          No one side can have dominance over the other, to do so would bring the end of all things...either everything would be destoyed or everything would cease to exist....harmony is needed for life.

          Courtesy of Wikipedia:
          Law and Chaos are the dominant metaphysical forces in the fantasy stories of Michael Moorcock, which he derived from Poul Anderson (especially his Three Hearts and Three Lions). Law and Chaos are in constant struggle, but they are kept in check by the Cosmic Balance, an even more powerful force for neutrality. The Eternal Champion is doomed to fight for Law, or perhaps for the Balance. In order that he can oppose Chaos and serve the interests of Law throughout the Multiverse, he is reincarnated in the virtually infinite planes of existence.



          7) Thoughts on Gaynor?

          Michael Moorcock wrote:
          While the Eternal Champion is, indeed, the servant of the Balance, which is why he fights sometimes for Law, sometimes for Chaos, it is possible for two of his incarnations to exist on the same plane. There's some suggestion, I'd say, that Gaynor the Damned was once a Knight of the Balance and possibly an incarnation of the Eternal Champion. Perhaps he's the Champion who refused his destiny ? The multiverse, as explained in MM's Multiverse graphic novel, consists of an infinite number of variations of the same universe -- each divided by infinitely tiny differences -- only at some distance apart are the worlds radically different. Champions can move across these worlds by a variety of means, usually in service of the Balance, which, it's fair to say, is probably the only constant throughout the multiverse.



          New Worlds-

          How long was Mike editor?

          Bio/Wikipedia wrote:
          Moorcock became editor of Tarzan Adventures in 1956, at the age of sixteen, and later moved on to edit Sexton Blake Library. As editor of the controversial British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996.
          Last edited by lemec; 07-11-2006, 12:03 AM. Reason: additions

          "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
          - Michael Moorcock

          Comment


          • #20
            Additional Beyold The Man Information:



            Michael Moorcock wrote:
            In my experience those shock inventions usually come from people who are already involved with religion and get some kind of buzz or release from doing something shocking with Jesus (or nuns or whatever). Since BTM is essentially about an imitation of Christ (rather more literal, of course, than some) many Christians have seen the book as essentially pro-Christian. It certainly wasn't produced as an anti-Christian text.
            I DO have problems with some of the more superstitious bits of ritual and so on but I also have considerable respect for those who practice what most of us regard as 'real' Christianity. I don't believe that the religiosity of America is actually 'Christian' in any real sense. As I said a while ago, I always thought Christ was supposed to be an example, not a weapon to attack others with.
            Last edited by lemec; 07-11-2006, 12:17 AM.

            "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
            - Michael Moorcock

            Comment


            • #21
              an interesting quote about Jerry Cornelius:
              The Cornelius stories are written so you can make your OWN narratives and emphases, so in that sense I'm not an authority. The assumption of those stories is that the reader is presented with certain events and ideas and can develop whatever story they like. I don't mind answering questions, but I did not write them to offer a specific thesis, only to present, as it were, some evidence. Of course, some of the material in, say, A Cure for Cancer is of a satirical nature (the American general's speech about liberating the British, for instance) and as such seems to reflect certain current events. It's up to you to decide what's going on, however... In a sense, it's a bit like a game scenario.
              Last edited by lemec; 11-04-2007, 03:32 AM.

              "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
              - Michael Moorcock

              Comment


              • #22
                early influences-

                (fantasy fiction)

                sword & sorcery stories by Robert E. Howard, Clark Ashton Smith.

                Poul Anderson's The Broken Sword, Fritz Lieber's Grey Mouser stories.

                Also: Bertold Brecht's The Threepenny Opera (as mentioned in Mike's Dedication for Elric of Melnibone.) <= Added by demos99


                earlier-

                Edgar Rice Burroughs.

                about Elric-

                (paraphrased)

                around 1960 MM worked for Sexton Blake Library.


                Ted Carnell wanted something along the lines of Conan, but he did not want a Conan story for Science Fantasy.



                ----

                Sojan first appeared in Tarzan Adventures between August 1957-September 1958. (from Savoy Books Ltd. 1977 in Sojan)
                Last edited by David Mosley; 06-29-2006, 12:52 AM.

                "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
                - Michael Moorcock

                Comment


                • #23
                  Did Mike write a story about Alexander the Great?

                  Michael Moorcock wrote:
                  Yeah, I was fascinated by Alexander. I did a comic strip version of his life for Look and Learn many years ago, drawn by the great Don Lawrence.
                  I also did a story involving Alexander called The Greater Conqueror, which is in the Earl Aubec collection. Fascinating guy. Great convergence of different cultures.

                  "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
                  - Michael Moorcock

                  Comment


                  • #24
                    Michael Moorcock Quotes from Q&amp;A Archives

                    How many book sales over the years?

                    Michael Moorcock wrote:
                    Somebody thought around six million a couple of years ago, but you know me and numbers... No idea. Must be a lot, of course, given the constantly reprinted titles in France, Germany, Russia and a lot of other countries. But I don't even know how many copies of White Wolf's Son were printed. I'm always afraid that if I ask they'll tell me 'more than ten'. Insecure, moi ?
                    What will Mike sign at book signings?

                    I never mind signing a few books. If I have time, I'll always sign as many as you bring, as long as you're prepared to wait. The rule is usually four books per signing, then back to the back of the queue. However, I'm not sure how these events will be organised, though I'm pretty sure there WILL be signings attending them and anyway if you're there just say who you are and I'll make it my business to sign what you bring.
                    Thoughts on Tolkien and Lewis:

                    I was always very sensitive to being preached at or 'educated' through fiction as a kid, which is probably why the William books were my favourite children's fiction. I hated BBC Children's Hour for that reason and learned only relatively recently that the CH was seen as a way of 'helping parents' keep their kids doing what they wanted them to do.
                    Tolkien hated the Narnia books for that reason, of course. He thought they were a derivative jumble and far too preachy. I found the same with Lewis's 'Silent Planet' trilogy. Oddly, that never happened with one of my earlier favourites, The Pilgrim's Progress. Might have something to do with the power of the writing and originality of the imagery. Lewis was influenced by, among others, David Lindsay. Voyage to Arcturus was scarcely preachy, either. Lewis was very kind to Peake, too, after he'd read the Titus books. I liked him a lot as a bloke. I even enjoyed some of his non-fiction. I could never get on with his fiction. That said, the trailers for Narnia look great. Anyone else see some of LW&W as a TV series a few years back ? I still prefer E. Nesbit, who deserves some of HER books other than The Railway Children (which was great) being made into movies. Tolkien thought Lewis drew on Nesbit rather more than was seemly. But we read pretty uncritically as children, anyway, and I have one or two Enid Blyton books which 'stayed with me' as well as all the good stuff and to me there's almost no one worse than EB.
                    Last edited by lemec; 08-30-2006, 05:54 AM.

                    "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
                    - Michael Moorcock

                    Comment


                    • #25
                      Thoughts on Quire?

                      Michael Moorcock wrote:

                      Well, yes. Quire is definitely my most 'Jacobean' villain. I wrote the book as if it was being written in the late 17th century, closer to Defoe than Shakespeare, drawing on language and understanding from that far forward, as it were. Quire was intended to be what he described himself as being 'an artist' -- in murder and intrique. To say anything more here would be a definite spoiler, I think, though.

                      Additional Book Talk:


                      Michael Moorcock wrote:


                      I meant to add that my own feeling of commitment to readers is to try to come up with as much that's original as possible. That's the sort of demanding reader I am, though I enjoy familiar characters as much as anyone (witness Zenith or, indeed, my current Balzac jag) but I like to see them in as many different aspects as possible. Mind you, if you want to keep making tons of money, the secret is to keep writing more or less the same book over and over again. As Edgar Rice Burroughs, to his own disappointment, found. Not to mention Conan Doyle. Some of us do it because that's all we CAN write; some of us because that's what readers keep demanding. Some of us are just bloody minded and are going to write as originally as possible no matter what. I think I've already mentioned that I felt a strong fellow feeling for Dylan, writing in Chronicle Vol 1, where it's clear he made a decision to remain true to himself and, as he sees it, to his audience by doing new stuff. It's what I love about Dylan, even though his later work gives me an entirely different buzz to his earlier stuff. It's also a commercial decision. You make a lot more dosh by putting yourself on Rpt. A sad irony. But given the kind of dosh you DO make, anyway, it seems more like 'giving back' to try to come up with original ways of doing what you do. I'm writing against a whistling kettle. Time to make the Darjeeling and sort out the crumpets. It's that kind of weather here in N. California at last!!

                      Thoughts on Bastable:

                      Michael Moorcock wrote:

                      Because I was writing in the context of Fabian colonialism (as it were) I thought Bastable grown up would make an excellent hero for The Warlord of the Air. Bastable had all the idealism an early 20th century socialist could give to a 'decent English boy'. The 'Empire' was still part of that idealism, of course. So, in what's often called 'an intervention' -- a questioning of the idealism of the likes of Conrad, Wells and, of course, Kipling in respect of the British Empire.

                      Censored Books:

                      Michael Moorcock wrote:
                      It's not the current Four Walls edition of the JC Quartet, it was the first US edition in the 60s. Worse censored was Byzantium Endures in the Random House edition, which cut out much of the antisemitism and other distasteful references for fear they would give offence.
                      I have not had a single Jewish person take offence at those books, because it's clear to anyone that the central character's views aren't mine, but Random decided otherwise... I suspect the book had gone to a lawyer or two...

                      I'd forgotten about that abominable edition. Una Persson and Catherine Cornelius also got censored. That was mainly for sexual content!
                      I think they'd hoped to sell Jerry in Wal-Mart by doing that!
                      The US has a habit of self-censorship which is quite remarkable for a modern democracy. You see it in most media and it's alarming to me.
                      Still, I suspect the net has a way of circumnavigating the commercial media, to a degree.


                      Warlord of the Air was 'censored' in the UK but not in the US!
                      The legal department at the publisher didn't want the stuff about Reagan, Jagger and so on in, so asked for it to be changed. Knowing the US edition was there and that I could soon bring out the regular edition inthe UK I didn't worry too much. Warhound, however, was never censored!
                      Just a very few, as mentioned, were.
                      In some novels (such as The Steel Tsar) I've rewritten, where I wasnt happy with the original, but the omnibus sets represent the definitive editions as far as I'm concerned.
                      Of course, in my retirement, and with almost all the books deliberately out of print here for a while, I could start rewriting EVERYRTHING again. Hee hee. Give the poor bibliographers something to do, eh ?


                      A ludicrous glitch at Orion with the first hardback edition and trade edition, in which most of a novel was accidentally left out of the book!. All later editions are okay.
                      Last edited by lemec; 07-03-2006, 06:26 AM.

                      "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
                      - Michael Moorcock

                      Comment


                      • #26
                        these are random, but interesting quotes.

                        comments on the creative process:

                        Michael Moorcock wrote:
                        I think I've pretty much always come up with story (song) first. Usually more than one title. Currently I'm wavering between Pete's Rules and The Conditions of the Island for my novel in progress. I also tend to have a liking for Victorian type titles which merely give the name of the protagonist or central event. The Ice Schooner and several other titles were done according to this idea. For me the title has to add a bit to the story, just as sub/headings and chapter titles should do, as in Mother London, where each sub-section makes a narrative reference as well as offering an image. It's the old NW training, trying to pack as much narrative into the page as possible... 07-12-2005, 03:00 AM

                        Comments about naming children after characters:

                        Michael Moorcock wrote:
                        In the seventies there were dozens of poor little buggers in Notting Hill called things like Frodo and Bilbo and Gandalf. I'm sure they're these days hiding behind 'Fred' and 'Bill' and 'Alf', but their mums and dads know their dark secret.
                        I was tempted to call my son Golom or Sauron, just to even things up a bit, but I caught myself in time and called him Max. Wonder if there are any retirement houses in the suburbs these days called Chez Mordor or
                        Dun Questin. I wonder if there are any Harries out there who were born Arioch. Can you get christened with the name of a Lord of Hell ?
                        There are Elrics going back several generations now. The Worst Boy in the School where Jim Cawthorn's sister worked in the 70s was called Elric and there was another Elric heavily into weapons, fatigues and such who was looking for me about twenty years ago -- I'm not sure whether he wanted to shoot me or make me his leader... In fact, I signed a book for an Elric in Austin at the last signing I did in Book People! I agree it's an awful burden. Happily, however, I haven't met that many Yyrkoons...
                        It could be worse, see. Yyrkoon Zand ?
                        Yeah, it's a bit brutal, naming your kid Brooklyn or whatever. I must say the fashion for calling girls Meredith ('Lord' in Welsh) is a bit weird, too.
                        I made sure my kids all had middle names they could use if they preferred them, or names which could be diminished to something they fancied -- Sophie was a rare name when we called her that, so we gave her Elizabeth so she could be Bess, Betty, Liz, Lizzie, Liza and so on, if she preferred. Same with my daughter Katharine. Max's middle name was Edward. Of course everyone of my generation is either called Mike or Dave, which can become a bit confusing. There are an awful lot of Michael Johns (thus M.John Harrison being about Harrison's only option to distinguish himself from all the others) and not a few John Michaels or
                        David Michaels and Michael Davids. I must admit I still prefer traditional names to made up ones and it irks me when people misspell ordinary names (as with Hillary Clinton, given that the root is Latin and should be pretty easy to spell right) but then that's an Old Fart grumble I allow myself from time to time. After all, I'm more likely to vote for someone called Hillary than I am for someone called George...


                        Picking pseudonyms:

                        Michael Moorcock wrote:
                        Ted Carnell, editor of New Worlds, Science Fantasy etc., if he wanted to give you a pseudonym (because usually you had too many stories in his inventory) would go to the ABC Railway Guide. This is a very good way of picking English names, since so many are identified originally with a place. You can do the same for French names or, indeed, most names for people of European, Asian and African origin, by checking out suitable names in a gazeteer or map. That's how James Colvin was created. I'd originally suggested James Mendoza, after a famous boxing ancestor. Ted thought that sounded too 'foreign' so I became Colvin. So presumably Welwyn Garden City isn't too far from the truth... Fred Bridge of Orchy ? Angus Colwyn Bay ? Maria Mallorca ?

                        Book stock signing:

                        Michael Moorcock wrote:
                        I'd never sign stock without being asked because signing the books actually makes it difficult for the bookstore to return them to the publisher. It's a trick some authors use to ensure that their books don't go back to source! There used to be a joke that Margaret Thatcher unsigned copies were becoming rarities, fetching much higher prices on the used book market, because she was inclined to do the same thing -- drop in unannounced and sign all the stock. The Queen of Capitalism never missed a trick!
                        Knightings:

                        Michael Moorcock wrote:

                        Thanks, pards.
                        As for a knighting, it wouldn't be very seemly for one who has been such a staunch republican anti-monarchist for so many years to go around taking honours. I prefer to be on the same side of the road as J.G.Ballard and Benjamin Zephaniah, who eloquently turned down their honours. My uncle did the same. He saw no point in it unless it came with a cash accompaniment, he said.

                        Native Americans in books:

                        Michael Moorcock wrote:

                        That's a book I wrote some forty years ago, but I don't remember basing the Legion of the Dawn on any particular culture. In fact, apart from Corum's basis in Celtic culture, I've very rarely used a specific culture as a model. In The Skrayling Tree I did use Amerind cultures, of course, and decided to use that model for Elric's people when Walter and I were doing Making of a Sorcerer because I felt Amerind cultures had not been used much as models and I wanted to get away from the standard pseudo-mediaeval models which have been used in graphic fiction up to now.
                        It wasn't too bad a model when I first started, but it's been overdone beyond sanity, in my view, since I began.


                        Other Thoughts:

                        Michael Moorcock wrote:

                        It's a fine point, I know, but if we are going to kill animals (or people) the method and the context require discussion. I am temperamentally of a Buddhist persuasion and would love to live in an ideal world where we don't kill to live, but the chances of achieving such a world are pretty slim, whereas it IS possible to rally public sentiment around such issues as the trade in the fur of domestic pets. It might not deal with the whole problem, but it at least deals with part of it. I've never been an absolutist, because that CAN be a way of avoiding doing the things we ARE capable of doing. We might not be able to stop people eating meat and wearing leather, but we can ensure that old donkeys live out their lives in some kind of happiness. We even subscribe to that elephant sanctuary in Tennessee. You're talking to the guy who believes that every time we eat squid, we're essentially consuming a creature which is the Einstein of the ocean. I've even be known to take a cockroach and carefully release it into the wild... When I do have to kill one, I tell myself the cockroach contains the soul of a cat-killer. Might not do much for the roach, but it relieves my conscience a little. It's how we keep
                        going, after all, in this existential world...

                        ...prefers to be called Mike:


                        Yeah, but that´s only because you keep moving too fast and Dr J is getting a little old now.
                        I don´t mind being called Mike, though I guess there´s always a potential context where it would SEEM over-familiar. And, as I always say, context is everything. Only Linda calls me Michael and gets away with it, however, because my mother only called me by my full name when she was mad at me. So if you call me Michael I might think you´re mad at me...
                        The weather here on the island is astonishingly good (actually hotter than Texas still) but we´re off to rainy Paris next Wednesday where the food will at least make up for the weather.
                        Excuse all misspellings and typos here -- it´s a funny, rather sluggish keyboard and I´m hurrying to get my money´s worth at the local internet cafe!
                        Last edited by lemec; 07-03-2006, 06:28 AM.

                        "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
                        - Michael Moorcock

                        Comment


                        • #27
                          Archive thread where Mike discusses The Retreat from Liberty & making books available for free online here > http://www.multiverse.org/fora/showthread.php?t=34
                          _"For an eternity Allard was alone in an icy limbo where all the colours were bright and sharp and comfortless.
                          _For another eternity Allard swam through seas without end, all green and cool and deep, where distorted creatures drifted, sometimes attacking him.
                          _And then, at last, he had reached the real world – the world he had created, where he was God and could create or destroy whatever he wished.
                          _He was supremely powerful. He told planets to destroy themselves, and they did. He created suns. Beautiful women flocked to be his. Of all men, he was the mightiest. Of all gods, he was the greatest."

                          Comment


                          • #28
                            What awards did Mike recieve?

                            (I found these, they seem to be accurate.)

                            Awards:
                            British Fantasy: [1972] [1973] [1974] [1975] [1976] [1993]
                            John W. Campbell: [1979]
                            Hugo: [1957]
                            Nebula: [1967]
                            World Fantasy: [1979] [2000]

                            1967 Nebula Award (Novella): Behold the Man
                            1972 August Derleth Fantasy Award (Best Novel): The Knight of the Swords
                            1973 August Derleth Fantasy Award (Best Novel): The King of the Swords
                            1974 British Fantasy Award (Best Short Story): The Jade Man's Eyes
                            1975 August Derleth Fantasy Award (Best Novel): The Sword and the Stallion
                            1976 August Derleth Fantasy Award (Best Novel): The Hollow Lands
                            1977 Guardian Fiction Award: The Condition of Muzak
                            1978 John W. Campbell Memorial Award: Gloriana
                            1979 World Fantasy Award (Best Novel): Gloriana
                            1993 British Fantasy Award (Committee Award)
                            2000 World Fantasy Award (Lifetime Achievement)
                            2002 Science Fiction Writers Hall of Fame
                            2004 Prix Utopiales Lifetime Achievement Award
                            2004 Bram Stoker Lifetime Achievement Award
                            Last edited by lemec; 07-11-2006, 12:07 AM.

                            "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
                            - Michael Moorcock

                            Comment


                            • #29
                              What Research has Mike done for the Pyat books?


                              Michael Moorcock wrote :

                              It was a long, intense period of research. I also talked to people who were actually present in Ukraine during the 'Civil War' period. I had to learn Cyrillic and some Russian and I read an enormous amount of 20th century Russian writers of all kinds. I also read traveller's reminiscences, guide books and so on. I had to learn to distinguish between propaganda from all sides, but I read a great deal from the Soviet side as well as the White Russian side, both fiction and non-fiction. The world around me (I wrote the book itself in about five months in Notting Hill) tended to disappear and the world I was writing about became real. I reached the point where I knew which tram went where in Kiev, felt I could find my way through the backstreets of Odessa and so on. I read an enormous number of accounts, mostly by ordinary people, and while I had to read some academic histories I mostly ignored those in favour of anecdotal memoirs. I was very flattered when Ukrainians wrote to me wondering when I had lived there and how I knew so much. I've done similar research for the other three, but probably not at the same almost lunatic level of intensity! My feeling was that unless I got every detail of the background right I couldn't have Pyat lying about anything else. So it's a weird combination of history and background as accurate as it's possible to get and outrageous lies by the narrator! The engineering claims, of course, are his boastful self-delusions, but I had to have him know at least something about what he was saying. In The Laughter of Carthage I did a lot of deep research on the Ku Klux Klan, too. I couldn't do that at home but had to travel to California where UCLA had an enormous collection of material I could use. I also travelled to all the places Pyat
                              went to and again read many 'naive' accounts of the places and period.
                              The same was true of Jerusalem Commands. Perhaps the most gruelling research, however, was for the last book, The Vengeance of Rome, which involved me immersing myself in Nazi material and realising that most academic or journalistic accounts of the Nazi period are almost incapable of studying the period outside the context of the Second world War. Most people who come to that study are either there to study the run up to the War. The Holocaust studies are more useful, but their focus is obviously on certain elements of the Nazi rise. I began to realise that very few people have studied the daily and emotional lives of the Nazis and for me much of the secret of their hideous careers is to be found there. I've used, for instance, details of the relationship between Hitler and Geli Raubal in other fiction, though I didn't give details of that relationship (merely used the results of my research) in Vengeance. I must admit I am very glad that long period of study is over. I have studied books, films and photographs for the past twenty seven odd years and while you can never rid yourself of those images, I hope never again to have to work at that level of familiarity with the Holocaust. I began the books in the hope of finding some of the answers to how such a terrible crime could have been allowed to happen,
                              in the hope that it would teach us how to stop it happening again. I am particularly concerned that many of us have not learned that lesson. Those of us who have learned it have a duty, I believe, to educate or resist those who haven't... Prince Harry should know, for instance, that the sight of that swastika still makes some of us feel physically sick. I've lived with it for a long time and I still feel the outrage and horror.

                              Michael Moorcock wrote :

                              I'm inclined, in spite of all, to believe that human beings have both good and evil in them, that neither state is 'natural' and that how we structure society has a great deal to do with whether we live civilised, decent lives or lives of cruel barbarism. We have to keep our faith in the good but we have to have to be on permanent guard against the evil and the many forms in which it masquerades and insinuates itself into our daily lives, our political rhetoric, our actions. Maybe this is no more than a kind of muscular Christianity without the supernatural elements, but I don't believe that people have a will to sin, for instance. You can witness the human tendency to co-operation and empathy in the response to the tsunami. Somehow you have to marshall that tendency and not, as I believe people like Bush do, work on the worst competitive and fearful aspects of people. Some would argue that Bush marshalls idealism and that's what I mean about vigilance and masquerade. I know people who believe he is the Antichrist and I wouldn't go that far because I think he is probably honest in his self-deception, if that makes sense. It makes it much harder to continue guarding against the worst and promoting the best when one's language is requisitioned by the forces you hope you are standing against and those who you would resist believe themselves to be champions of Law. That's partly what Pyat is about. In one part of the last book he refers to 'Nazi chivalry', which has given pause to more than one person who has been kind enough to read it for me, but that is how many of them saw themselves. Himmler's 'secret' speeches to the SS about the death camps, for instance, say what a horrible job it is they are going to have to do and they don't have to do it if they don't feel up to it, but those who do take part in the Final Solution will be remembered with honour... It might even be fair to say that when you hear rhetoric like that, you have to be prepared for the worst sort of human infamy.
                              Michael Moorcock wrote :

                              I'd lived in some of those places. I also travelled a lot on Russian ships and got to know Ukrainians as well as Russians both at home and abroad. I talked to Leah Feldmann, who had actually been on Makhno's 'education train' and read dozens of 'naive' accounts of people who had lived through the periods I described. It was somewhat easier to research in America and Turkey, of course, since the books were written during the Soviet period when all you got, really, was propaganda (often from both sides -- government and exiles). There seems, incidentally, to be a new wave of anti-semitism running through Russia at the moment. The actions of the current Israeli administration have allowed latent anti-Jewish feeling to come to the surface again -- though it's fair to argue that such feelings were what inspired Jewish paranoia in the first place. An appalling vicious circle, I must say, which might indeed end only with Armageddon, as fundamentalist Christians believe!
                              America in recent years simply has not done enough diplomatically to improve conditions in that region which is a great shame since at one point America was seen as a reasonable arbiter.
                              There was a person who was the inspiration for Pyat. I forget his name, but he was a neighbour of mine often referred to as 'the old Pole', a Polish emigre who had a house stuffed with machine-parts and so on.
                              I also based Pyat partly on an old loony who used to live around Camden Town and stuff long rambling 'letters' through John Clute's letter box.
                              Pyat was essentially, however, an amalgam who came into existence slowly via small parts, originally, in the Jerry Cornelius books. As with books like Warlord of the Air I blended both realistic fiction with fantasy in order to form a kind of 'bridge' between the two, using characters who had originally appeared in my realistic fiction or vice versa. Pyat was one such who grew more and more substantial as I wrote about him.
                              The first picture is of Russian irregulars taken during the Civil War, but I know little else about the picture. The second appears to be a meeting of French and Turkish officers perhaps during armistice negotiations. The publisher never told me the provenance of the pictures which were selected from the Radio Times Hulton Picture Library, as I recall. The second set of Cape covers were mostly images taken from my own collection, including some toy soldiers!

                              "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
                              - Michael Moorcock

                              Comment


                              • #30
                                What replica is closest to what Stormbringer would look like:

                                Michael Moorcock wrote :

                                The Raven Armoury sword is the closest to my own idea of Stormbringer. It is a broadsword, two-handed, which handles like a foil. It is beautifully balanced, so can almost be used to fence with, one-handed, or swung two-handed to do serious chopping. Having no scabbard, I'm forced to keep it deep in the broomcupboard for fear of it attacking the cats...

                                "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
                                - Michael Moorcock

                                Comment

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